E. S.
CONTENTS
| CHAPTER I | ||
| PAGES | ||
|---|---|---|
| The Middle Ages | [1]–29 | |
| Ecclesiastical Art—Wood-carving and Carvers—Primitive Character of the Furniture of Castles and Mansions—Huchiers—Menuisiers—A Typical Bedroom—Dinanderie—Wood-work and panelling—Chest, banc, bahut, sideboard, dressoir, credence, table and chair—Embroideries—Definition of Chambre—Textiles and Tapestries—Ecclesiastical Hangings—Tapestry-weavers—Tapestry of Philip the Bold—Flemish Looms—Cordovan and Flemish Leathers—Goldsmith’s Work—Glass and Glass-workers—Guilds of St. Luke. | ||
| CHAPTER II | ||
| The Burgundian Period | [31]–62 | |
| The luxurious Dukes of Burgundy—Possessions of the House of Burgundy—The Burgundian Court—Household of Philip the Good—the Feast of the Pheasant—the Duke of Burgundy at the Coronation of Louis XI—Arras Tapestries—Sumptuous Dressoirs and their Adornments—Celebrations in honour of the Knights of the Golden Fleece—Luxury of Charles the Bold—Charles the Bold at Trèves—Furnishings of the Abbey of Saint-Maximin—Charles the Bold’s Second Marriage—Furnishings of the Banqueting Hall at Bruges—Descriptions by Olivier de la Marche—Aliénor of Poitiers’ Descriptions of the Furniture of the Duchess of Burgundy’s Apartments—Rich Dressoirs—the Drageoir and its Etiquette—the Etiquette of the Escarbeau—Philip the Bold’s Artisans—Flemish Carving—the Forme or Banc—Burgundian Workmanship—Ecclesiastical Work—Noted Carvers—Furniture of the Period—the “Golden Age of Tapestry”—Embroideries—Tapestry-weavers of the Low Countries—Introduction of Italian Cartoons—Goldsmiths’ Work—Furniture of the Fourteenth and Fifteenth Centuries. | ||
| CHAPTER III | ||
| The Renaissance: Part I | [63]–96 | |
| Dawn of the Renaissance—The Transitional Period—Coffers and Bahuts—Court of Margaret of Austria—Perrèal’s Style—Margaret’s Tomb by Perrèal—Taste of the Regent—Margaret’s Tapestries, Carpets, Table-covers and Cushions—Her Curios—Flemish Tapestries—Cartoons by Bernard van Orley—William de Pannemaker—English Tapestries—Last Days of the Gothic Style—Guyot de Beaugrant, Lancelot Blondeel and Peter Pourbus—Stalls in the Groote Kerk, Dordrecht—Carvings in Haarlem—Invasion of the Renaissance—Walnut, the Favourite Wood for Furniture and Carving—Versatility of the Artists—the Fleming as Emigrant—the Renaissance in Burgundy—Hugues Sambin—Sebastian Serlio—Peter Coeck of Alost—Pupils of Peter Coeck—Lambert Lombard—Francis Floris, the “Flemish Raphael”—the Craze for Numismatics—Hubert Goltzius—Cabinets of the Sixteenth Century—Italian Furniture—Characteristic Features of Renaissance Furniture—Ornaments, the Arabesque, Pilaster, Cartouche, Cuirs, Banderole and Caryatid—Publications of Decorative Design—Alaert Claes, Lucas van Leyden, Cornelis Bos and Martin van Heemskerck. | ||
| CHAPTER IV | ||
| The Renaissance: Part II | [97]–129 | |
| Second Period of the Renaissance—Court of Mary of Hungary—Charles V a Fleming—Influence of Burgundian Court in Spain—Gilded Leather—Wealth of the Nobles in the Netherlands—Margaret of Valois at Namur—Antwerp in the Sixteenth Century—Christopher Plantin—Cornelis and James Floris—Jerome Cock—Hans and Paul de Vries—Jacques van Noye—Famous Designers—Characteristics of the Second Period of the Renaissance—Bedsteads, Tables and Chairs, Armoires, Cabinets and Chests—Porcelain, Glass and Glass Cupboards—Windows and Glass-painters—Guicciardini on the Artists of the Low Countries—Paul de Vries—Crispin de Passe the Elder—the Collaerts—Wood-carving—Music and Musical Instruments. | ||
| CHAPTER V | ||
| Seventeenth Century (Flemish) | [131]–167 | |
| Renewed Italian Influence—Rubens: his Studio, his House, his Pupils, his Influence, his Successors—Seventeenth Century Wood-carvers—Development and Tendencies of Furniture—Crispin van den Passe—Rembrandt’s Goods and Chattels—Old Belgian Houses—The Pitsembourg—Kitchens—Leather-hangings—Tapestry—Marquetry—Chairs—Masters of Ornamental Design—The “Auricular Style.” | ||
| CHAPTER VI | ||
| Seventeenth Century (Dutch) | [169]–202 | |
| Famous Dutch Architects—The Royal Palace on the Dam, Het Loo, The Mauritshuis and Huis Ten Bosch—Interior Carvings—Specimens of Rooms and Ceilings in the Rijks Museum—Love of the Dutch for their Houses—Miniature Dutch Houses and Models of Old Amsterdam Houses in the Rijks Museum—Architecture of the Seventeenth Century—A Typical Dutch Home—The Luifel, Voorhuis and Comptoir—Interior Decorations and Furniture—Dutch Mania for Cleaning—Descriptions by Travellers of Dutch Houses and Cleaning—Cleaning Utensils—House and Furniture of Andreas Hulstman Janz, in Dordrecht—Inventory of Gertrude van Mierevelt, wife of the painter, in Delft—“Show-Rooms” and their Furnishings—Cooking Utensils—Bedroom in the House of Mrs. Lidia van der Dussen in Dordrecht—The Cradle and “Fire-Basket”—The Baby’s Silver—The “Bride’s Basket”—The “Bride’s Crown” and “Throne”—Decorations for a Wedding—Description by Sir John Lower of the Farewell Entertainment to Charles II at the Hague. | ||
| CHAPTER VII | ||
| The Importance of Porcelain | [203]–235 | |
| Rise of Dutch Taste in Decorative Art—Influence of Foreign Trade in the Dutch Home—Accounts of Porcelain by Mediaeval Travellers: Edrisi, Ibn Batuta and Shah Rukh—Quotation from Pigapheta—A Great European Collection—Monopoly of Trade by the Portuguese—Quotation from Pyrard de Laval—Portuguese Carracks—Voyages to Goa and Japan—Porcelain and Cabinets—Mendoza’s Description of Earthenware—Dutch and English Merchants—Presents to Queen Elizabeth—Dutch Expeditions and Establishment of the Dutch East India Company—Embassy to the Emperor of China in 1655—Descriptions of the Manufacture of Porcelain—Manufacture and Potters of Delft—Quotation from d’Entrecolles on Porcelain and Oriental Trade—Prices—Tea—Tea-drinking—A Dutch Poet on the Tea-table—Chrestina de Ridder’s Porcelain—Prices of Porcelain in 1653. | ||
| CHAPTER VIII | ||
| The Dutch Home | [237]–270 | |
| Love of porcelain—The Amsterdam Mart—Prices of China in 1615—Oriental wares before 1520—Luxury of the Dutch Colonists—Rich Burghers in New Amsterdam—Inventories of Margarita van Varick and Jacob de Lange—Dutch Merchants in the East—Foreign Views of Dutch Luxury—Dutch Interiors after the Great and Little Masters—House-furnishing by a young married couple—The Linen Chest—Clothes Chests and Cupboards—The Great Kas—The Cabinet—The Toilet—Table-covers—Foot-warmers—Looking-glasses—Bedsteads—Tables and Chairs—Woods—Kitchen Utensils—Silverware—Household Pets. | ||
| CHAPTER IX | ||
| Dutch Furniture under French and Oriental Influence | [271]–293 | |
| The Dutch Craftsmen in the Employ of Louis XIV—Huguenot Emigration—Marot—The Sopha—Upholstery—The Bed—Chairs—Sconces—Tables—Rooms—English and Dutch Alliances—Hampton Court—Queen Mary—Looking-glasses—Chandeliers—Chimney-pieces—The style refugié—John Hervey’s Purchases—Oriental Furniture manufactured after European Patterns—Complaints of Home Manufacturers—Trade with the Indies—“Prince Butler’s Tale”—Enormous Importations—Imported Textiles—Foreign Textiles for Upholstery. | ||
| CHAPTER X | ||
| Furniture of the Eighteenth and Nineteenth Centuries | [295]–327 | |
| Lacquer—Oriental Methods—European Importations and Limitations—Prices—An Ambassador’s Report—Singerie, Chinoiserie and Rocaille—The Dutch Decadence—Interiors of Cornelis Troost—Mirrors—Wealth and Luxury of Dutch Merchants—Court Contrasts—Tapestry—Brussels as a Centre of Art and Luxury—Eighteenth Century Furniture—The Empire Style in the Low Countries—Dutch Homes of the Nineteenth Century—The Maarken House and Furniture—Typical Farmhouse and Furniture—Country Seats and Town Houses—Hindeloopen Houses and Furniture—A Friesland House—Canal Boat Furniture—Dutch Love of Symmetry—Collectors and Collections. | ||
ILLUSTRATIONS
| PLATE | FACING PAGE | |
|---|---|---|
| Bed by Daniel Marot | [Frontispiece] | |
| I. | Choir-Stall | [4] |
| II. | Bedroom (Fifteenth Century) and Figs. 1–5 | [8] |
| III. | Flemish Dressoir (Fifteenth Century), and Figs. 6–9 | [14] |
| IV. | Credence (Fifteenth Century) | [38] |
| V. | Coffer in Flemish Style | [66] |
| VI. | Flemish Coffer or Huche | [68] |
| VII. | Huche, or Bahut (Sixteenth Century) | [70] |
| VIII. | Cabinet (Sixteenth Century) | [84] |
| IX. | Armoire (Burgundian School) | [86] |
| X. | Bedroom, by De Vries | [92] |
| XI. | Flemish Bedstead (1580) and Figs. 10–18 | [94] |
| Bed, Tables, Chair and Footstool, Flemish Chairs. Figs. 19–25 | [106] | |
| XII. | Bedstead, Chairs and Table, by J. Stradan | [108] |
| XIII. | Bedstead, by De Vries | [110] |
| XIV. | Bedstead, Rijks Museum | [112] |
| XV. | Armoire, Rijks Museum | [114] |
| XVI. | Glass Cupboard, or Vitrine, by De Vries | [116] |
| XVII. | Glass Cupboard, or Vitrine, by De Vries | [118] |
| XVIII. | Flemish Armoire and Figs. 26–27 | [120] |
| XIX. | Cabinet, or Armoire, by De Vries. Design for Goldsmith’s Work, by Jerome Cock | [122] |
| XX. | Cabinet, or Armoire, by De Vries. Design for Goldsmith’s Work, by Jerome Cock | [124] |
| XXI. | Design for Goldsmith’s Work, by Adrian Collaert | [126] |
| XXII. | Design for Goldsmith’s Work, by Adrian Collaert | [128] |
| XXIII. | Lady at Spinet, by J. M. Molenaer | [132] |
| XXIIIA. | Spinet, by Ruckers | [134] |
| XXIV. | Interior, by Barthol van Bassen (Seventeenth Century) and Figs. 28–30 | [136] |
| XXV. | Panelled Bedstead, Rijks Museum | [144] |
| XXVI. | The Sick Woman, by Jan Steen, and Figs. 31–34 | [146] |
| XXVII. | Woman with a Parrot, by Jan Steen | [148] |
| XXVIII. | Flemish Chair, Cluny Museum | [154] |
| XXIX. | Flemish Chair Cluny Museum | [156] |
| XXX. | Chairs, Cluny Museum | [158] |
| XXXI. | Marquetry Cabinet, Rijks Museum | [160] |
| XXXII. | Kitchen, Stedelijk Museum | [162] |
| XXXIII. | Chairs, Rijks Museum | [164] |
| XXXIV. | Chairs, Rijks Museum | [170] |
| XXXV. | Chairs, Rijks Museum | [172] |
| XXXVI. | The Oyster Feast, by Jan Steen, and Figs. 35–37 | [248] |
| XXXVII. | The Sick Lady, by Hoogstraten | [250] |
| XXXVIII. | Interior, by J. Koedyck | [252] |
| XXXIX. | The Music Lesson, by Terborch | [254] |
| XL. | Interior, by J. B. Weenix | [256] |
| XLI. | Breakfast, by G. Metsu | [258] |
| XLII. | Interior, by Jan Steen | [260] |
| XLIII. | Kas of Ebony and Ivory, Rijks Museum | [262] |
| XLIV. | Dutch Kas, Cluny Museum | [264] |
| XLV. | Flemish Chair, Cluny Museum | [266] |
| XLVI. | “Buire,” by Mosyn, Auricular Style | [268] |
| Screen in the Style Refugié. Fig. 39 | [272] | |
| XLVII. | Carved Oak Bahut, Cluny Museum, and Fig. 38 | [274] |
| Sophas, Lower part of Chair, Lambrequins. Figs. 40–45 | [276] | |
| XLVIII. | Bed and Bedroom, by Marot | [278] |
| XLIX. | Mirrors and Sconces, by Marot | [280] |
| L. | Mirrors, by Marot | [282] |
| LI. | Mirrors, Console Table and Candlestands, by Marot | [284] |
| LII. | Tables and Mascarons, by Marot | [286] |
| LIII. | Clocks and Details, by Marot | [288] |
| LIV. | Interior, by Cornelis Troost | [298] |
| Cabinet from Liège, Dutch Mirror Frame. Figs. 46–47 | [300] | |
| LV. | Interior, by Cornelis Troost | [302] |
| LVI. | Room in the Stedelijk Museum | [308] |
| LVII. | In Bruitlaen, by Artz | [312] |
CHAPTER I
THE MIDDLE AGES
Ecclesiastical Art—Wood-carving and Carvers—Primitive character of the Furniture of Castles and Mansions—Huchiers—Menuisiers—A Typical Bedroom—Dinanderie—Wood-work and panelling—Chest, banc, bahut, sideboard, dressoir, credence, table and chair—Embroideries—Definition of Chambre—Textiles and Tapestries—Ecclesiastical hangings—Tapestry-weavers—Tapestry of Philip the Bold—Flemish Looms—Cordovan and Flemish Leathers—Goldsmith’s Work—Glass and Glass-workers—Guilds of St. Luke.
In the turbulent days of the Middle Ages, the goods of the Church were the only ones respected, and, sometimes, not even those. The castles afforded protection to those in their immediate vicinity, but rival feudal ambitions rendered the calling of a luxurious craftsman more or less precarious. The abbey walls always sheltered a community of carpenters, joiners, leather-dressers, iron-workers, goldsmiths, sculptors, painters and calligraphists.
Towards the end of the Crusades, the new organization of the Communes, after the period of anarchy, becomes firmly established. Industry, commerce and art begin to make rapid strides in the towns, and craftsmen form themselves into corporations that receive special privileges from their titular overlords. So long as the artists of the ecclesiastical school remained under the protection of the monastic houses, they naturally followed a hieratic road. The ornamentation they were called upon to produce for the Church, they reproduced when luxurious furniture was required in domestic life. The great Corporations, however, as they grew in wealth and power, demanded something superior to, or at least, different from, the work of their forerunners. In the monastic houses, it was long before this influence made itself felt; but among the secular clergy it received a hearty welcome.
The distinguishing character of Mediaeval work is the freedom of execution allowed to the workman. The architect decided on heights, dimensions, dispositions of parts and profiles of stalls, or armoires; but the details were left to be worked out by the artistic ability of the skilled workman. Individual expression was allowed full play, while the original conception of the designer was respected.